Wholesome Direct 2025 - everything announced at this year's cosy indie showcase Big hops! Discount shops! Spooky pups! More! Image credit: Eurogamer Feature by Matt Wales News Reporter Published on June 7, 2025 If you're the sort who just can't seem to resist the soothing rhythms of turnip planting and interior design, you've come to the right place. This year's Wholesome Direct - which marks the fifth anniversary of the showcase - has now aired, unleashing a fresh wave of cosy games to stick on your wishlists. We've got vending machine management, adorable puppies on spooking adventures, cheese-based puzzling, geckos, goats, seasonal cemetery exploration, and a whole lot more. So if that sounds like it might help sate your idyllic yearning, read on for all the big announcements from Wholesome Direct 2025. And for more indies, you can check out our round-up of this year's Day of the Devs showcase elsewhere. Leaf Blower Co. Leaf Blower Co. trailer.Watch on YouTube Ever wished your PowerWash Simulator had a little less splosh and a little more whoosh? That seems to be the starting point for developer Lift Games' Leaf Blower Co., a game about making the untidy tidy come rain, snow, or shine, one mechanised gust at a time. It's got a story mode plus a variety to locations waiting to be blown debris-free, and if that appeals, a demo's available now on Steam ahead of its release later this year. Instants Instants trailer.Watch on YouTube Instants is a creativity themed puzzler about the intoxicating pleasures of obsessive scrapbooking. It sees players attempting to sort images into chronological order and then assembling them into a scrapbook to reveal a "heartwarming" story inspired by the way family history can be passed down using pictures. It's developed by Endflame and launches today on PC (via Steam and Epic), and Switch. Story of Seasons: Grand Bazaar Story of Seasons: Grand Bazaar trailer.Watch on YouTube Stardew Valley might be the face of farming sims these days, but the grandaddy of the genre - Story of Season (formerly Harvest Moon) - never went away, and another entry in the venerable series is looming. Grand Bazaar is actually a remake of 2011 DS game Harvest Moon: Grand Bazaar, and it's got pretty much everything you'd expect from these kind of things - including turnips to fondle, animals to rear, and locals to dazzle with your impressive root vegetable collection. The main twist is you'll be selling all this yourself by setting up shop in the titular bazar. And if that sounds like something you'd enjoy, it launches for Switch, Switch 2, and Steam on 27th August. Gourdlets Together Gourdlets Together trailer.Watch on YouTube Perhaps you're already a fan of last year's Gourdlets or perhaps you're completely new to its vegetable-themed low-stakes thrills. Either way, there'll soon be a new way to play, thanks to developer AuntyGames' Gourdlets Together. Essentially, it takes the laid-back village-building vibes of the original, slings in a bit of a fishing focus - where earnings can be spent on upgrades or accessories to decorate your island home - then lets you do it while hanging out with friends online. Gourdlets Together launches on PC later this year. Luma Island Luma Island trailer.Watch on YouTube Don't think we're done with the farming sims yet - not by a long shot! Luma Island launched last year, offering an attractive mix of crop whispering, profession-specific activities, creature collecting, exploration, and puzzle-y dungeoneering. And come 20th June, it'll be getting just a little be more swashbuckling, thanks to its free Pirates update, introducing a new profession, new Lumas, new outfits, and a pirate cove filled with mini-games, temples, traps, and treasures. It'll also bring a range of different difficulty modes to suit players of all tastes. Is This Seat Taken? Is This Seat Taken? trailer.Watch on YouTube Think you're a dab hand at the old 'awkward family gathering' seating plan challenge? Well then, this might just be the game for you. In Poti Poti Studio's "cosy, silly, and relatable" logic puzzler Is This Seat Taken?, the goal is to satisfy the demands of a particularly fussy group of chair occupiers to find the perfect spot that'll keep everyone happy - be they on the bus, at the park, or in the office. It's coming to Steam, Switch, iOS, and Android this August, and a Steam demo's out now. MakeRoom MakeRoom trailer.Watch on YouTube Here's one for the aesthetic tinkerers and furnishing fetishists out there. MakeRoom, from developer Kenney, sees players decorating a series of miniature dioramas - from cosy indoor retreats to camper vans and even forests - to fulfil the requests of adorable NPCs. You might, for instance, be tasked with creating the perfect room for cats, or a suitably moody hideout for a vampire. Then it's simply a matter of hanging drapes, plopping down plants, and even crafting furniture to bring these spaces to life and satisfy your clients' whims. It all sounds very much like Animal Crossing's weirdly compelling Happy Home Paradise expansion, so if it's more of that sort of thing you want, MakeRoom comes to Steam on 7th August. Ambroise Niflette & the Gleaned Bell Ambroise Niflette & the Gleaned Bell trailer.Watch on YouTube The apple bell - whatever an apple bell is - has been stolen, but luckily for apple bell lovers everywhere, renowned detective Ambroise Niflette is on the case. Over the course of Topotes Studio's investigatory adventure, Ambroise - and players - will roam the village of Touvoir, interrogating its inhabitants and searching for secrets, all while using a notebook of steadily amassing leads to reveal contradictions and unmask the culprit. It all sounds perfectly lovely, but the real draw is the delightful art style, which is heavily inspired by miniatures and stop motion. Ambroise Niflette & the Gleaned Bell is eventually set to launch on Steam, but first there's a Kickstarter, which is underway now. Let's Build a Dungeon Let's Build a Dungeon trailer.Watch on YouTube First there was Let's Build a Zoo, and now comes Let's Build a Dungeon. But while developer Springloaded kept its focus pretty tight for its debut release, Let's Build a Dungeon goes broad; not only is it a playable RPG creator where you can rustle up your own worlds and quests, it's also claiming to be an entire games industry sim too, where you'll need to manage all the malarky around releasing your game - from attracting funding right through to making a profit at the other end of the process. But if all that sounds too stressful, Springloaded has confirmed - as part of its latest showing - there'll be a cosy sandbox Build Mode too. There's still no release date for Let's Build a Dungeon yet, but it's heading to Steam (there's a demo here), Xbox One, and Xbox Series X/S. Squeakross: Home Squeak Home Squeakross: Home Squeak Home trailer.Watch on YouTube What do you get if you cross adorable mice with classic grid-filling puzzler Picross? Well, this thing, obviously. Squeakross: Home Squeak Home is the work of developer Alblune, and it adds its own twist to the familiar logic-testing formula by introducing a home decorating element. The idea is each puzzle corresponds to an unlockable bit of decor - including furniture, accessories, and stickers - so you'll slowly amass new furnishings and trimmings as you give your brain a work out. Is there an in-game lore reason why puzzles equals furniture? Who knows! We'll soon find out, though, given Squeakross launches for Switch and PC (via Steam and itch.io) today. Monument Valley 3 Monument Valley 3 trailer.Watch on YouTube Ustwo Games' perspective shifting puzzle series Monument Valley has been a big old hit, amassing tens of millions of downloads since its iOS debut back in 2014 - so it wasn't a huge surprise when a third entry showed up on mobile last year. Initially, however, it was locked behind a Netflix subscription, but Monument Valley 3 - which we quite liked despite it offering little meaningful evolution for the series - is finally spreading its wings later this year. As announced during today's Wholesome Direct, it's coming to Steam, Switch, PlayStation 4, PS5, Xbox One, and Xbox Series X/S on 22nd July. Big Hops Big Hops trailer.Watch on YouTube If you immediately thought bunnies, you're wrong. Big Hops is, in fact, a frog-themed action platformer, in which players attempt to help the titular Hop find his way home. Each world he visits on his adventure promises its own self-contained story - involving everything from mountain cultists to desert ne'erdowells - all interspersed with plenty of agile platform action. You can grapple across gaps, hoist levers, rotate wheels, even pick locks - all using your tongue - and it's accompanied by some veggie-based gameplay that lets players introduce the likes of climbable vines and mushroom-based bounce pads into levels. Big Hops is currently raising funds via Kickstarter and a Steam demo's out now. Little Kitty, Big City Little Kitty, Big City trailer.Watch on YouTube Here's quicky for you. Little Kitty, Big City - the feline-focused open-world adventure from Double Dagger Studio - is getting a little bigger. That's thanks to a free content update coming to all platforms this "summer", promising new story content, a new neighbourhood to explore, and new oddball characters to befriend. That's alongside a new cat customisation feature for you creative sorts out there. Vending Dokan!: Kozy Kiosk Vending Dokan!: Kozy Kiosk trailer.Watch on YouTube What's in a name? Well, pretty much everything in this case. Aftabi Games' Vending Dokan!: Kozy Kiosk is, just as it sounds, a cosy, laidback game about managing your own vending machine empire. You'll choose where your machines go and what they sell, and hire staff to ensure they stay stocked, clean, and in working order. There's a heavy customisation element too, as you're free to decorate the areas surrounding your vending machines in order to attract new customers. Kozy Kiosk is officially referred to as an "idle simulation", and can be played both actively and passively. And if that appeals, it launches for Steam today. Winter Burrow Winter Burrow trailer.Watch on YouTube Developer Pine Creek Games' "woodland survival game" Winter Burrow was unveiled during December's Wholesome Direct, but it's back to announce it's now coming to Switch. If you missed its original reveal, Winter Burrow casts you as a mouse who's attempting to fix up their burrow and turn it into a toasty retreat from the cold. That requires exploring the snow-covered world outside, gathering resources, crafting tools, building things, making friends, baking pies, and more. Winter Burrow launches next year and will be available for Steam, Xbox One, Xbox Series X/S, and Switch. Tales of the Shire: A Lord of the Rings Game Tales of the Shire trailer.Watch on YouTube After multiple delays, cosy hobbit life sim Tales of the Shire is almost upon us, and developer Wētā Workshop is readying for its arrival with a brand-new trailer. It's been described as a game about "finding joy in the small moments", and features all the usual life sim activities - fishing, cooking, gathering, decorating, merrymaking - with a bit of a Lord of the Rings twist. So yes, you CAN decorate your hobbit's hole. Tales of the Shire launches for Switch, PlayStation, Xbox, and PC on 29th July. Haunted Paws Haunted Paws trailer.Watch on YouTube If your interests lie at the intersection of spooky mansions and adorable pups, prepare to have your day made. In developer LazyFlock's supernatural adventure Haunted Paws, players - either solo or with a friend - control two brave (and customisable!) puppies as they explore a creepy old house in search of their human, who's been kidnapped by sinister forces. It promises puzzles, lighthearted spookiness, and even a few emotional bits. There's no release date for Haunted Paws yet, but it's coming to Steam. The Guardian of Nature The Guardian of Nature trailer.Watch on YouTube This wholesome, hand-drawn puzzle adventure from Inlusio Interactive is all about the interconnectedness of nature, and sees players embarking on a botanical journey as the lovably be-hatted Henry. Not only does Henry know his stuff about the natural world, he's also able to change his size, meaning players can explore both above and below ground as they solve puzzles to assist nature. The Guardian of Nature launches into Steam early access today, and it's coming to Switch, Xbox, iOS, and Android too. Everdeep Aurora Everdeep Aurora trailer.Watch on YouTube If you've ever thought Dig Dug would be improved if its protagonist was a cat, Everdeep Aurora might be the game for you. It follows the apocalyptic adventures of a kitten named Shell as she explores subterranean depths in search of her mother. You'll obliterate blocks, do some platforming, play mini-games, and converse with peculiar characters as you investigate the dark secrets buried below, all without a hint of combat. Its limited-colour pixel art looks wonderful, and it's coming to Steam and Switch on 10th July. Seasonala Cemetery Seasonala Cemetery trailer.Watch on YouTube From the creators of A Mortician's Tale, the "meditative" Seasonala Cemetery is a "peaceful but poignant reflection on life and death". It's set in an expansive, living cemetery that changes dynamically based on your system's time and date. The summer, for instance, might see the world bustling with vibrant life, while the winter brings quiet and snow. You can interact with NPCs and animals, rummage through nature, learn the history of the nearby city through its gravestones, or simply relax to its ambient sounds. Seasonala Cemetery is out today on Steam and itch.io, and is completely free. Camper Van: Make it Home Camper Van: Make it Home trailer.Watch on YouTube One of (bizarrely) several camper-van-themed games currently in the works, developer Malpata Studio's Make it Home is a pretty self-explanatory thing. You've got a camper van to make your own as it journey across beautiful, idyllic landscapes. Part of your goal is to solve organisational puzzles, but there's laidback interior design too. Camper Van: Make it Home is available today, alongside a demo, on Steam. Lynked: Banner of the Spark Lynked: Banner of the Spark trailer.Watch on YouTube FuzzyBot's Lynked: Banner of the Spark is a cheerily colourful action-RPG, that's part sci-fi roguelike, part relaxed life sim. At its most peaceful, you'll farm, fish, gather materials, and build your base with help from your robot pals, but that's all in service of its more frenetic hack-and-slash action. When you're ready for some proper adventure, you can brave the wilds, battle evil robot forces with a large arsenal of weapons, and search for helpful bots to bring back home. Lynked is already available on Steam, but it's coming to PS5 and Xbox Series X/S too. Omelet You Cook Omelet You Cook trailer.Watch on YouTube In this chaotic cooking roguelike from SchuBox Games, you're tasked with creating the perfect omelettes to satisfy your customers' increasingly peculiar demands. That involves combining ingredients as they fly by on a conveyor belt, from the relatively mundane to the rather more dubious, in the hope of earning enough money to increase your provisions, add useful relics to your pantry, and, hopefully, please the fearsome Principal Clucker. It all looks wonderfully ridiculous, and it launches on Steam today. Milano's Odd Job Collection Milano's Odd Job Collection trailer.Watch on YouTube Milano's Odd Job Collection (known as Milano no Arubaito Collection in Japan) is coming to the west for the very first time. It follows the adventures of 11-year-old Milano as she's left to her own devices over the summer. Free to do as she pleases, she embarks on a range of odd job - from pizza delivery to milking flying cows - in order to make money and have fun. Milano's Odd Job Collection, from developer Westone, is coming to Switch, PlayStation, Xbox, and PC later this year. Fireseide Feelings Fireseide Feelings trailer.Watch on YouTube If you've got something to get off your chest, what better place to do it than by a roaring fire in a cosy forest glade? Fireside Feelings is described as a "mental wellness experience" promoting empathy, connection, and positivity between players. Situated cosily in your customisable camp, you're able to answer questions on a range of topics, taking part in conversations between people "separated in space and time". Conversations aren't live, and there's no direct interaction with others, but the goal, according to developer Team Empreintes, is to "share experiences, express your emotions, and be a part of a caring community". It launches today on Steam. All Will Rise All Will Rise trailer.Watch on YouTube Well here's something you don't see every day. All Will Rise is a "narrative courtroom deck-builder", in which you and your team take a corrupt billionaire to court, accusing them of a river's murder. That involves accumulating cards and using them to engage in conversation battles, attempting to charm, intimidate and manipulate those you meet around the vibrant city of Muziris. "Obey a dead river god's summons - or defy them," developer Speculative Agency explains. "Pass information to violent ecoterrorists - or maintain your pacifist ideals. Convince a corporate stooge to testify for you - or blackmail him with sensitive information. Your choices will determine the [city's] fate." All Will Rise is currently crowdfunding, but it's aiming to launch on Xbox, PlayStation, Switch, and Steam. Gecko Gods Gecko Gods trailer.Watch on YouTube It's hard to go wrong with a gecko, which immediately gives developer Inresin's Gecko Gods a bit of an advantage. What we've got here is a "serene lizard-sized puzzle-platformer" set on a beautiful archipelago, in which its tiny protagonist clambers across forgotten ruins, solving puzzles as they go. There are secrets of a lost civilisation to uncover, hidden paths, and more, all of which you'll be able to explore for yourself when Gecko Gods launches for Switch, PS5, and Steam later this year. But if you're an impatient sort, a Steam demo is available now. One Move Away One Move Away trailer.Watch on YouTube If you quite fancied the idea of Unpacking, but thought it had far too much 'taking stuff out of things' for its own good, you might enjoy Ramage Games' One Move Away, which is basically the inverse experience. Here, you play as three different characters, starting with a young girl in the 1980s, gradually learning more about them as you pack their belongings away ready for another chapter in their intertwining lives. All this plays out in first-person across 20 levels, and if that takes your fancy, a Steam demo's out now ahead of a full launch on PS5, Xbox Series X/S, and PC. Heidi's Legacy: Mountains Calling Heidi's Legacy trailer.Watch on YouTube As you've probably already guessed, Heidi's Legacy: Mountains Calling takes inspiration from the classic children's stories. Which is why it's something of a surprise to learn its protagonist is called Adèle. Regardless, this is a game of grumpy old men, goat management, and alpine wandering, where you'll explore the beautiful countryside with your bleating pals, foraging for herbs, mushrooms, and more in a bid to help the nearby village. You can unlock abilities that open up more of the world, and chat to the locals in branching conversations'll that impact their lives. And as for those goats, they can provide milk, cheese, and wool. "Will you embrace slow living," asks developer Humble Reeds, "or push for bolder change?". Heidi's Legacy is coming to PC "soon". Hotel Galatic Hotel Galatic trailer.Watch on YouTube In Hotel Galactic, you're responsible for the running of a modular hotel on a strange cosmic island, which you'll customise and optimise in order to provide guests with the perfect stay. There are resources to manage, a workforce to build, and more, as you cater to the demands of your ever-growing colony, all with assistance from your ghostly Grandpa Gustav. There's a bit more to it than that, though, and the whole thing's framed by a tale of love and vengeance that's conveyed through some lovely anime-inspired art and animation. Hotel Galactic launches into Steam early access on 24th July, with consoles to follow, and a demo's available now. Out and About Out and About trailer.Watch on YouTube If it's serene forest meandering you're after, then look no further than Yaldi Games' Out and About. It's a "cosy foraging adventure" focused on exploring nature and identifying real-life plants and fungi. You'll cook recipes, make herbal remedies, and help rebuild your community after a devastating storm, all while hopefully learning a bit of botanical knowledge you can take out into the real-world. Out and About looks to be aiming for a 2025 release on PC, with a console launch to follow. And if it's piqued your curiosity, you can test out a Steam demo now. Discounty Discounty trailer.Watch on YouTube Forget the farm life; how about managing your own discount supermarket in a small harbour town? That's the premise of Discounty from Crinkle Cut Games, which sees you designing and organising your shop, managing stock levels, working the checkout, and striking trade deals. You'll make friends, navigate local drama, and expand your empire, but that doesn't mean you have to play nice. After all, can you really become filthy rich without making a few lifelong enemies along the way? Discounty launches for Switch, PlayStation, Xbox, and PC on 21st August and, yup, a demo's available now on Steam. Islanders: New Shores Islanders: New Shores trailer.Watch on YouTube We're big fans of developer GrizzlyGames' minimalist city builder Islanders around these parts, so news publisher Coatsink was developing a sequel earlier this year came as a pleasant surprise. It is, if you're unfamiliar, a game about attempting to squeeze as much onto a procedurally generated island as possible, maximising building synergies and minimising penalties to get the highest score. New Shores sounds like a gentle finessing of the formula, rather than a radical reinvention - it's got a sandbox mode as well as a high score mode now, alongside new power-ups called "boons" - but that's okay. The big news is it now has a release date and is coming to Switch, PlayStation, Xbox, and Steam on 10th July. Collector's Cove Collector's Cove trailer.Watch on YouTube VoodooDuck's Collector's Cove might be yet another farming game, but it does at least have a unique twist. For starters, your farm is on a boat endlessly sailing the oceans AND it's powered by an adorable sea monster who you'll need to forge a bond with. As you set out on a tranquil adventure across the water, you'll farm, fish, craft, and personalise your surroundings, sometimes stopping off at passing islands to catalogue their unique flora. Collector's Cove doesn't have a release date yet, but it's coming to PC and a Steam demo's available now. Town to City Town to City trailer.Watch on YouTube Fans of minimalist railway game Station to Station might want to pay attention here. Town to City is developer Galaxy Grove's follow-up to that earlier puzzler, sporting a similar voxel art aesthetic and vibe. This time around, you're charged with building quaint picturesque towns by placing shops, houses, amenities, decorations, and more - all in a bid to please your residents and encourage more to move in. Eventually, you'll have multiple towns under your care, helping the whole region grow and thrive. Town to City doesn't have a release date yet, but you can play a demo on Steam. Fishbowl Fishbowl trailer.Watch on YouTube And finally for the big, non-montage reveals, it's Fishbowl, a coming-of-age tale told over the course of a month. Developer imissmyfriends.studio describes it as a "warm and cozy story about living in isolation, nurturing friendships and understanding grief", and it's all focused on 21-year-old video editor Alo as she works from home while mourning her grandmother. As the days tick by, you'll video call loved ones, work to assemble videos, do care tasks, and solve puzzles to unpack your grandmother's belongings - recovering childhood memories as you do. There's no release date for Fishbowl yet, but it's coming to PS5 and Steam.

Alienware is offering competitive prices on RTX 5080 equipped gaming PCs to kick off June. Right now you can pick up an Alienware Aurora R16 RTX 5080 gaming PC from $2,449.99 shipped. This is a good price for a well-engineered gaming rig with powerful current generation components, 240mm AIO water cooling, and sensible airflow design that can handle 4K gaming at high frame rates. In the current market, buying a prebuilt gaming PC is the only way to score an RTX 5080 GPU without paying an exorbitant markup. If you were to try to find a 5080 GPU for your do-it-yourself PC build, you'll probably spend nearly as much for the GPU as you would for an entire system.Alienware Aurora RTX 5080 Gaming PC From $2,450Alienware Aurora R16 Intel Core Ultra 7 265F RTX 5080 Gaming PC (16GB/1TB)$2,449.99 at AlienwareAlienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (32GB/2TB)Alienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (64GB/4TB)New for 2025Alienware Area-51 Intel Core Ultra 7 265 RTX 5080 Gaming PC (32GB/1TB)The prices on the Alienware Aurora R16 model starts range from the bottom end of $2,349.99 to the top end of $3,149.99. Each tier up offers either a CPU upgrade or increased RAM and/or storage:$2,349.99 - Intel Core Ultra 7 265F, 16GB RAM, 1TB SSD$2,799.99 - Intel Core Ultra 9 285K, 32GB RAM, 2TB SSD$3,249.99 - Intel Core Ultra 9 285K, 64GB RAM, 4TB SSDAlienware Area-51 RTX 5080 Gaming PC for $3,599.99New for 2025Alienware Area-51 Intel Core Ultra 7 265 RTX 5080 Gaming PC (32GB/1TB)Dell unveiled the new Alienware Area-51 gaming PC at CES 2025. The chassis looks similar to the 2024 R16 system with aesthetic and cooling redesigns and updated components. The I/O panel is positioned at the top of the case instead of the front, and the tempered glass window now spans the entire side panel instead of just a smaller cutout. As a result, the side panel vents are gone, and instead air intakes are located at the bottom as well as the front of the case. Alienware is now pushing a positive airflow design (more intake than exhaust airflow), which means a less dusty interior. The internal components have been refreshed with a new motherboard, faster RAM, and more powerful power supply to accommodate the new generation of CPUs and GPUs.The GeForce RTX 5080 GPU will run any game in 4KThe RTX 5080 is the second best Blackwell graphics card, surpassed only by the $2,000 RTX 5090. It's about 5%-10% faster than the previous generation RTX 4080 Super, which is discontinued and no longer available. In games that support the new DLSS 4 with multi-frame generation exclusive to Blackwell cards, the gap widens.Nvidia GeForce RTX 5080 FE Review, by Jacqueline Thomas"If you already have a high-end graphics card from the last couple of years, the Nvidia GeForce RTX 5080 doesn’t make a lot of sense – it just doesn’t have much of a performance lead over the RTX 4080, though the extra frames from DLSS 4 Multi-Frame Generation do make things look better in games that support it. However, for gamers with an older graphics card who want a significant performance boost, the RTX 5080 absolutely provides – doubly so if you’re comfortable with Nvidia’s AI goodies."Eric Song is the IGN commerce manager in charge of finding the best gaming and tech deals every day. When Eric isn't hunting for deals for other people at work, he's hunting for deals for himself during his free time.

By OLIVER WEBB Images courtesy of Peter Hjorth and Zentropa, except where noted. Peter Hjorth. (Photo courtesy of Danish Film Institute) When Peter Hjorth first started out, visual effects were virtually non-existent in the Danish film industry. “We had one guy at the lab who did work on the Oxberry [rostrum animation camera], and I worked at a video production company,” Hjorth states. “I trained as a videotape editor, then it went into online. When the first digital tools arrived, I joined one of the hot post places where they got the first digital VTRs. All my first years of experience were with commercial clients and music videos and making the transition from analogue to digital in video post-production. I did a little bit of work for friends of mine where we actually did it at the lab. I’m old enough to have done stuff with the optical printer and waiting for weeks to get it right. There were some very early start-ups in Copenhagen doing files to film, and I started working with them.” Hjorth’s first feature film came in 1998 with Thomas Vinterberg’s Festen, where he served as camera operator and digital consultant. Festen also marked Hjorth’s first foray into the Dogme 95 movement. “We shot on MiniDV, and I was attached to the whole project. I shot the second camera and then was asked if I could do some advanced work in visual effects for commercials. I was then asked by Lars von Trier to help out on Dancer in the Dark when he was starting.” Working on Dancer in the Dark marked the beginning of Hjorth’s frequent collaborations with Lars von Trier. “That was sort of a two-fold thing because we had 100 DV cameras that needed some kind of infrastructure to work, and my television background was good for that. We also needed some visual effects work to get rid of some cameras. If you put 100 cameras in the same set, you’re going to get into a visual effects situation. So, I did that and worked on the editing. At that time, people were a little bit afraid of Lars, but I’m up for anything. We had a great time, especially during the editing and post-production.” Hjorth was pleased with his collaboration with director Tarik Saleh on the U.S. film The Contractor (2022), on which he served as Production Visual Effects Supervisor. (Image courtesy of Paramount Pictures) “There’s a special thing about Denmark, which is that we tend to all stick together… It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.” —Peter Hjorth, Visual Effects Supervisor Initially, production experimented with a wall of cameras, where Hjorth did a test compositing that into an image. Von Trier found it interesting, but felt it wasn’t right for Dancer in the Dark. He later came back to Hjorth with Dogville and explained that he wanted to implement the multi-camera technique for this project. “Lars didn’t want linear perspective, instead he wanted something more like visual arts, fine arts, a notion of perspective, even cubism maybe,” Hjorth adds. “At that point in between those two projects, I did the first big Vinterberg film, It’s All About Love.” Hjorth worked as Visual Effects Supervisor for the film. “We did lots of precise visual effects, matched lenses, matched camera heights, everything by the book. Then I went into this totally crazy project for Lars and really developed a close understanding of what Lars wanted. We’ve done eight feature films and a TV series together. The last one was the third season of The Kingdom. I also did his last feature film, The House That Jack Built. I was Production Visual Effects Supervisor on all the stuff in-between, such as Antichrist and Melancholia.” Hjorth explains that he was very lucky to be in the right place at the right time. “Working on those projects has given me a network all over Europe with good people. We had some decent budgets, and people were thrilled to work on Lars’ films. I’ve made some excellent friends and good connections. If you wanted VFX for a movie in the early 2000s you hired someone from a post house for a specific scene. The notion of a production visual effects supervisor was not very common in Denmark, and the role has since developed. I find that my contribution is now mostly in pre-production. With post-production, I usually take a step back and leave it to the vendors to get right, but I’m happy I’ve been able to assist when the need arose.”  Throughout his career, Hjorth has worked across the board as camera operator, colorist and editor. “I did some camera work on the side for music videos, and so on,” he explains. “When I speak to the DP and the gaffers, I know the language. I wouldn’t say I did great work as a cinematographer, but I know the language, the equipment and the limitations. Actually, my first job before even going into post-production was as an electrician. I used to work on really old, heavy movie lights back in the day, so I also know a little bit about departments on set and how it works. That has made it a little bit easier for me to be on set because as a visual effects supervisor, it can be a super scary experience. If you feel like a tourist, it’s just horrible. I, of course, worked on the Dogme 95 films, where we worked closely with the actors, and I’m not afraid to have a conversation with an actor. No matter how good the VFX is, if the actors don’t believe a scene they are in, it doesn’t work. So, I’ve been lucky to do a bit of everything, and I feel blessed that things turned out the way that they did.” Starting out in Dogme 95 also proved to be a huge learning curve when it came to film language and understanding how to work within a set of specific rules and guidelines. The movement was founded by Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The Manifesto consisted of 10 rules, which included: camera must be handheld, shooting must be done on location and special lighting isn’t allowed. “It’s a good background to have,” Hjorth states. “We’ve had rules for all of the films I’ve made with Lars, even on projects such as Melancholia.” Setting rules hasn’t been limited to Danish cinema and extends beyond that. “We made kind of a set of rules for the films I’ve made with Ali Abbasi, and that’s always made things easier,” Hjorth says. “He first called me when he was in film school. He was doing some early tests and was audacious enough to ask me for a VFX shot. It was hard to understand what he was saying, but then he talked about a scene with a guy coming out of a cake and he kills his brother, slicing his throat with a knife, and he wanted to see that in close-up. I appreciate younger directors calling and asking me to work with them, and it has really paid off.” Hjorth was the Visual Effects Supervisor for several episodes of the 1994-2022 TV series The Kingdom and The Kingdom: Exodus. Hjorth has worked on eight feature films and a TV series with director Lars von Trier. (Photo: Peter Hjorth) Hjorth with director Lars von Trier, left, on the set of The Kingdom: Exodus. (Photo: Peter Hjorth) Hjorth was Visual Effects Supervisor on The House That Jack Built, directed by Lars von Trier. (Photo: Christian Geisnæs) Peter Hjorth was recognized for his work as European Visual Effects Supervisor for the Swedish-Danish feature and Cannes winner Border, directed by Ali Abbasi. (Image courtesy of Meta Film Stockholm) Hjorth was Production Visual Effects Supervisor on Lamb (2021), directed by Valdimar Jóhannsson. (Image courtesy of Go To Sheep and A24) Hjorth with Simone Grau Roney, Production Designer on The House That Jack Built (2018), directed by Lars von Trier. Choosing a favorite visual effect shot from his career, however, is a difficult task for Hjorth, though he’s particularly proud of the work achieved on Dogville. “Nobody noticed how messed up it was,” he explains. “Toward the end of the movie, you can see the masks, and you can see that we didn’t bother to match the grain between layers and all that. We did the first test on Flame, and when we went to layer 99, it just stopped working. We ended up doing it with combustion software, which was crummy, but it worked, and we got the shots done. I think we went to 170 layers on the opening shot. It was a learning experience for everybody involved, and I still work with some of those same people, most recently on the Netflix series I did this spring.” Hjorth worked as Visual Effects Supervisor on Holy Spider, directed by Ali Abbasi. (Photo: Nadim Carlsen. Image courtesy of Profile Pictures)   Hjorth served as Visual Effects Supervisor on Antichrist (2009), directed by Lars von Trier. Hjorth believes that there’s been an immense upgrade in professionalism in Denmark in the years since he’s worked in the business. “The beginning was much less industrial. The directors that I have worked with tend to work with me multiple times. A lot of the stuff I say in the first meeting is really defining for how that [job] is going to go. I’ve been so lucky to work on films that I actually think made a difference. It has mostly been art house films with limited budgets and resources. When we work together with the same producer or director a few times, sometimes they come back and say, ‘We’d like to have a creature or some special thing.’ It’s an evolving process.” Hjorth worked as Visual Effects Supervisor on the Lars von Trier-directed Melancholia (2011), and was also credited for his astrophotography of auroras for the film. (Image courtesy Magnolia Pictures) Hjorth was Visual Effects Supervisor on Dogville (2003), directed by Lars von Trier. Hjorth worked with director Lars von Trier to develop the Automavision technique, which was credited with the cinematography for The Boss of It All (2006). A computer algorithm randomly changes the camera’s tilt, pan, focal length and/or positioning as well as the sound recording without being actively operated by the cinematographer. Hjorth works closely with stunts, special effects makeup, animal wranglers and other specialists. “I know the craft and what they need from me. They know more about what’s going to be effective on screen, so I just leave them to it and make sure they have what they need. Same thing with animals and visual effects, makeup and stuff like that, physical things. You know I have a bit of a reputation for trying to get as many pieces of the puzzle as possible with a camera. Some production VFX people get quotes from, say, three different vendors, and then they pick all the cheapest bids for each sequence or shot, and that’s how they get down in budget. I tried to avoid that. I’d rather actually sit down with the director and say for example, ‘We should have some breathing space here.’” When it comes to the future of visual effects in Denmark, Hjorth takes an optimistic view. “I think this trend that we have more production supervisors is basically going to continue in the way that even if you have very little work, you hire someone from the get-go and you make sure that’s a balance in ambition and resources. There’s a special thing about Denmark, which is that we tend to all stick together, even people who are not in the same line of work. We have lots of experience sharing. There are no limits to who you can call and ask questions. It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.”

The housing crisis in Canada’s North, which has particularly affected the majority Indigenous population in northern communities, has been of ongoing concern to firms such as Taylor Architecture Group (TAG). Formerly known as Pin/Taylor, the firm was established in Yellowknife in 1983. TAG’s Principal, Simon Taylor, says that despite recent political gains for First Nations, “by and large, life is not improving up here.” Taylor and his colleagues have designed many different types of housing across the North. But the problems exceed the normal scope of architectural practice. TAG’s Manager of Research and Development, Kristel Derkowski, says, “We can design the units well, but it doesn’t solve many of the underlying problems.” To respond, she says, “we’ve backed up the process to look at the root causes more.” As a result, “the design challenges are informed by much broader systemic research.”  We spoke to Derkowski about her research, and the work that Taylor Architecture Group is doing to act on it. Here’s what she has to say. Inadequate housing from the start The Northwest Territories is about 51% Indigenous. Most non-Indigenous people are concentrated in the capital city of Yellowknife. Outside of Yellowknife, the territory is very much majority Indigenous.  The federal government got involved in delivering housing to the far North in 1959. There were problems with this program right from the beginning. One issue was that when the houses were first delivered, they were designed and fabricated down south, and they were completely inadequate for the climate. The houses from that initial program were called “Matchbox houses” because they were so small. These early stages of housing delivery helped establish the precedent that a lower standard of housing was acceptable for northern Indigenous residents compared to Euro-Canadian residents elsewhere. In many cases, that double-standard persists to this day. The houses were also inappropriately designed for northern cultures. It’s been said in the research that the way that these houses were delivered to northern settlements was a significant factor in people being divorced from their traditional lifestyles, their traditional hierarchies, the way that they understood home. It was imposing a Euro-Canadian model on Indigenous communities and their ways of life.  Part of what the federal government was trying to do was to impose a cash economy and stimulate a market. They were delivering houses and asking for rent. But there weren’t a lot of opportunities to earn cash. This housing was delivered around the sites of former fur trading posts—but the fur trade had collapsed by 1930. There weren’t a lot of jobs. There wasn’t a lot of wage-based employment. And yet, rental payments were being collected in cash, and the rental payments increased significantly over the span of a couple decades.  The imposition of a cash economy created problems culturally. It’s been said that public housing delivery, in combination with other social policies, served to introduce the concept of poverty in the far North, where it hadn’t existed before. These policies created a situation where Indigenous northerners couldn’t afford to be adequately housed, because housing demanded cash, and cash wasn’t always available. That’s a big theme that continues to persist today. Most of the territory’s communities remain “non-market”: there is no housing market. There are different kinds of economies in the North—and not all of them revolve wholly around cash. And yet government policies do. The governments’ ideas about housing do, too. So there’s a conflict there.  The federal exit from social housing After 1969, the federal government devolved housing to the territorial government. The Government of Northwest Territories created the Northwest Territories Housing Corporation. By 1974, the housing corporation took over all the stock of federal housing and started to administer it, in addition to building their own. The housing corporation was rapidly building new housing stock from 1975 up until the mid-1990s. But beginning in the early 1990s, the federal government terminated federal spending on new social housing across the whole country. A couple of years after that, they also decided to allow operational agreements with social housing providers to expire. It didn’t happen that quickly—and maybe not everybody noticed, because it wasn’t a drastic change where all operational funding disappeared immediately. But at that time, the federal government was in 25- to 50-year operational agreements with various housing providers across the country. After 1995, these long-term operating agreements were no longer being renewed—not just in the North, but everywhere in Canada.  With the housing corporation up here, that change started in 1996, and we have until 2038 before the federal contribution of operational funding reaches zero. As a result, beginning in 1996, the number of units owned by the NWT Housing Corporation plateaued. There was a little bump in housing stock after that—another 200 units or so in the early 2000s. But basically, the Northwest Territories was stuck for 25 years, from 1996 to 2021, with the same number of public housing units. In 1990, there was a report on housing in the NWT that was funded by the Canada Mortgage and Housing Corporation (CMHC). That report noted that housing was already in a crisis state. At that time, in 1990, researchers said it would take 30 more years to meet existing housing need, if housing production continued at the current rate. The other problem is that houses were so inadequately constructed to begin with, that they generally needed replacement after 15 years. So housing in the Northwest Territories already had serious problems in 1990. Then in 1996, the housing corporation stopped building more. So if you compare the total number of social housing units with the total need for subsidized housing in the territory, you can see a severely widening gap in recent decades. We’ve seen a serious escalation in housing need. The Northwest Territories has a very, very small tax base, and it’s extremely expensive to provide services here. Most of our funding for public services comes from the federal government. The NWT on its own does not have a lot of buying power. So ever since the federal government stopped providing operational funding for housing, the territorial government has been hard-pressed to replace that funding with its own internal resources. I should probably note that this wasn’t only a problem for the Northwest Territories. Across Canada, we have seen mass homelessness visibly emerge since the ’90s. This is related, at least in part, to the federal government’s decisions to terminate funding for social housing at that time. Today’s housing crisis Getting to present-day conditions in the NWT, we now have some “market” communities and some “non-market” communities. There are 33 communities total in the NWT, and at least 27 of these don’t have a housing market: there’s no private rental market and there’s no resale market. This relates back to the conflict I mentioned before: the cash economy did not entirely take root. In simple terms, there isn’t enough local employment or income opportunity for a housing market—in conventional terms—to work.  Yellowknife is an outlier in the territory. Economic opportunity is concentrated in the capital city. We also have five other “market” communities that are regional centres for the territorial government, where more employment and economic activity take place. Across the non-market communities, on average, the rate of unsuitable or inadequate housing is about five times what it is elsewhere in Canada. Rates of unemployment are about five times what they are in Yellowknife. On top of this, the communities with the highest concentration of Indigenous residents also have the highest rates of unsuitable or inadequate housing, and also have the lowest income opportunity. These statistics clearly show that the inequalities in the territory are highly racialized.  Given the situation in non-market communities, there is a severe affordability crisis in terms of the cost to deliver housing. It’s very, very expensive to build housing here. A single detached home costs over a million dollars to build in a place like Fort Good Hope (Rádeyı̨lı̨kóé). We’re talking about a very modest three-bedroom house, smaller than what you’d typically build in the South. The million-dollar price tag on each house is a serious issue. Meanwhile, in a non-market community, the potential resale value is extremely low. So there’s a massive gap between the cost of construction and the value of the home once built—and that’s why you have no housing market. It means that private development is impossible. That’s why, until recently, only the federal and territorial governments have been building new homes in non-market communities. It’s so expensive to do, and as soon as the house is built, its value plummets.  The costs of living are also very high. According to the NWT Bureau of Statistics, the estimated living costs for an individual in Fort Good Hope are about 1.8 times what it costs to live in Edmonton. Then when it comes to housing specifically, there are further issues with operations and maintenance. The NWT is not tied into the North American hydro grid, and in most communities, electricity is produced by a diesel generator. This is extremely expensive. Everything needs to be shipped in, including fuel. So costs for heating fuel are high as well, as are the heating loads. Then, maintenance and repairs can be very difficult, and of course, very costly. If you need any specialized parts or specialized labour, you are flying those parts and those people in from down South. So to take on the costs of homeownership, on top of the costs of living—in a place where income opportunity is limited to begin with—this is extremely challenging. And from a statistical or systemic perspective, this is simply not in reach for most community members. In 2021, the NWT Housing Corporation underwent a strategic renewal and became Housing Northwest Territories. Their mandate went into a kind of flux. They started to pivot from being the primary landlord in the territory towards being a partner to other third-party housing providers, which might be Indigenous governments, community housing providers, nonprofits, municipalities. But those other organisations, in most cases, aren’t equipped or haven’t stepped forward to take on social housing. Even though the federal government is releasing capital funding for affordable housing again, northern communities can’t always capitalize on that, because the source of funding for operations remains in question. Housing in non-market communities essentially needs to be subsidized—not just in terms of construction, but also in terms of operations. But that operational funding is no longer available. I can’t stress enough how critical this issue is for the North. Fort Good Hope and “one thing that (kind of) worked” I’ll talk a bit about Fort Good Hope. I don’t want to be speaking on behalf of the community here, but I will share a bit about the realities on the ground, as a way of putting things into context.  Fort Good Hope, or Rádeyı̨lı̨kóé, is on the Mackenzie River, close to the Arctic Circle. There’s a winter road that’s open at best from January until March—the window is getting narrower because of climate change. There were also barges running each summer for material transportation, but those have been cancelled for the past two years because of droughts linked to climate change. Aside from that, it’s a fly-in community. It’s very remote. It has about 500-600 people. According to census data, less than half of those people live in what’s considered acceptable housing.  The biggest problem is housing adequacy. That’s CMHC’s term for housing in need of major repairs. This applies to about 36% of households in Fort Good Hope. In terms of ownership, almost 40% of the community’s housing stock is managed by Housing NWT. That’s a combination of public housing units and market housing units—which are for professionals like teachers and nurses. There’s also a pretty high percentage of owner-occupied units—about 46%.  The story told by the community is that when public housing arrived in the 1960s, the people were living in owner-built log homes. Federal agents arrived and they considered some of those homes to be inadequate or unacceptable, and they bulldozed those homes, then replaced some of them—but maybe not all—with public housing units. Then residents had no choice but to rent from the people who took their homes away. This was not a good way to start up a public housing system. The state of housing in Fort Good Hope Then there was an issue with the rental rates, which drastically increased over time. During a presentation to a government committee in the ’80s, a community member explained that they had initially accepted a place in public housing for a rental fee of $2 a month in 1971. By 1984, the same community member was expected to pay $267 a month. That might not sound like much in today’s terms, but it was roughly a 13,000% increase for that same tenant—and it’s not like they had any other housing options to choose from. So by that point, they’re stuck with paying whatever is asked.  On top of that, the housing units were poorly built and rapidly deteriorated. One description from that era said the walls were four inches thick, with windows oriented north, and water tanks that froze in the winter and fell through the floor. The single heating source was right next to the only door—residents were concerned about the fire hazard that obviously created. Ultimately the community said: “We don’t actually want any more public housing units. We want to go back to homeownership, which was what we had before.”  So Fort Good Hope was a leader in housing at that time and continues to be to this day. The community approached the territorial government and made a proposal: “Give us the block funding for home construction, we’ll administer it ourselves, we’ll help people build houses, and they can keep them.” That actually worked really well. That was the start of the Homeownership Assistance Program (HAP) that ran for about ten years, beginning in 1982. The program expanded across the whole territory after it was piloted in Fort Good Hope. The HAP is still spoken about and written about as the one thing that kind of worked.  Self-built log cabins remain from Fort Good Hope’s 1980s Homeownership Program (HAP). Funding was cost-shared between the federal and territorial governments. Through the program, material packages were purchased for clients who were deemed eligible. The client would then contribute their own sweat equity in the form of hauling logs and putting in time on site. They had two years to finish building the house. Then, as long as they lived in that home for five more years, the loan would be forgiven, and they would continue owning the house with no ongoing loan payments. In some cases, there were no mechanical systems provided as part of this package, but the residents would add to the house over the years. A lot of these units are still standing and still lived in today. Many of them are comparatively well-maintained in contrast with other types of housing—for example, public housing units. It’s also worth noting that the one-time cost of the materials package was—from the government’s perspective—only a fraction of the cost to build and maintain a public housing unit over its lifespan. At the time, it cost about $50,000 to $80,000 to build a HAP home, whereas the lifetime cost of a public housing unit is in the order of $2,000,000. This program was considered very successful in many places, especially in Fort Good Hope. It created about 40% of their local housing stock at that time, which went from about 100 units to about 140. It’s a small community, so that’s quite significant.  What were the successful principles? The community-based decision-making power to allocate the funding. The sweat equity component, which brought homeownership within the range of being attainable for people—because there wasn’t cash needing to be transferred, when the cash wasn’t available. Local materials—they harvested the logs from the land, and the fact that residents could maintain the homes themselves. The Fort Good Hope Construction Centre. Rendering by Taylor Architecture Group The Fort Good Hope Construction Centre The HAP ended the same year that the federal government terminated new spending on social housing. By the late 1990s, the creation of new public housing stock or new homeownership units had gone down to negligible levels. But more recently, things started to change. The federal government started to release money to build affordable housing. Simultaneously, Indigenous governments are working towards Self-Government and settling their Land Claims. Federal funds have started to flow directly to Indigenous groups. Given these changes, the landscape of Northern housing has started to evolve. In 2016, Fort Good Hope created the K’asho Got’ine Housing Society, based on the precedent of the 1980s Fort Good Hope Housing Society. They said: “We did this before, maybe we can do it again.” The community incorporated a non-profit and came up with a five-year plan to meet housing need in their community. One thing the community did right away was start up a crew to deliver housing maintenance and repairs. This is being run by Ne’Rahten Developments Ltd., which is the business arm of Yamoga Land Corporation (the local Indigenous Government). Over the span of a few years, they built up a crew of skilled workers. Then Ne’Rahten started thinking, “Why can’t we do more? Why can’t we build our own housing?” They identified a need for a space where people could work year-round, and first get training, then employment, in a stable all-season environment. This was the initial vision for the Fort Good Hope Construction Centre, and this is where TAG got involved. We had some seed funding through the CMHC Housing Supply Challenge when we partnered with Fort Good Hope. We worked with the community for over a year to get the capital funding lined up for the project. This process required us to take on a different role than the one you typically would as an architect. It wasn’t just schematic-design-to-construction-administration. One thing we did pretty early on was a housing design workshop that was open to the whole community, to start understanding what type of housing people would really want to see. Another piece was a lot of outreach and advocacy to build up support for the project and partnerships—for example, with Housing Northwest Territories and Aurora College. We also reached out to our federal MP, the NWT Legislative Assembly and different MLAs, and we talked to a lot of different people about the link between employment and housing. The idea was that the Fort Good Hope Construction Centre would be a demonstration project. Ultimately, funding did come through for the project—from both CMHC and National Indigenous Housing Collaborative Inc. The facility itself will not be architecturally spectacular. It’s basically a big shed where you could build a modular house. But the idea is that the construction of those houses is combined with training, and it creates year-round indoor jobs. It intends to combat the short construction seasons, and the fact that people would otherwise be laid off between projects—which makes it very hard to progress with your training or your career. At the same time, the Construction Centre will build up a skilled labour force that otherwise wouldn’t exist—because when there’s no work, skilled people tend to leave the community. And, importantly, the idea is to keep capital funding in the community. So when there’s a new arena that needs to get built, when there’s a new school that needs to get built, you have a crew of people who are ready to take that on. Rather than flying in skilled labourers, you actually have the community doing it themselves. It’s working towards self-determination in housing too, because if those modular housing units are being built in the community, by community members, then eventually they’re taking over design decisions and decisions about maintenance—in a way that hasn’t really happened for decades. Transitional homeownership My research also looked at a transitional homeownership model that adapts some of the successful principles of the 1980s HAP. Right now, in non-market communities, there are serious gaps in the housing continuum—that is, the different types of housing options available to people. For the most part, you have public housing, and you have homelessness—mostly in the form of hidden homelessness, where people are sleeping on the couches of relatives. Then, in some cases, you have inherited homeownership—where people got homes through the HAP or some other government program. But for the most part, not a lot of people in non-market communities are actually moving into homeownership anymore. I asked the local housing manager in Fort Good Hope: “When’s the last time someone built a house in the community?” She said, “I can only think of one person. It was probably about 20 years ago, and that person actually went to the bank and got a mortgage. If people have a home, it’s usually inherited from their parents or from relatives.” And that situation is a bit of a problem in itself, because it means that people can’t move out of public housing. Public housing traps you in a lot of ways. For example, it punishes employment, because rent is geared to income. It’s been said many times that this model disincentivizes employment. I was in a workshop last year where an Indigenous person spoke up and said, “Actually, it’s not disincentivizing, it punishes employment. It takes things away from you.” Somebody at the territorial housing corporation in Yellowknife told me, “We have clients who are over the income threshold for public housing, but there’s nowhere else they can go.” Theoretically, they would go to the private housing market, they would go to market housing, or they would go to homeownership, but those options don’t exist or they aren’t within reach.  So the idea with the transitional homeownership model is to create an option that could allow the highest income earners in a non-market community to move towards homeownership. This could take some pressure off the public housing system. And it would almost be like a wealth distribution measure: people who are able to afford the cost of operating and maintaining a home then have that option, instead of remaining in government-subsidized housing. For those who cannot, the public housing system is still an option—and maybe a few more public housing units are freed up.  I’ve developed about 36 recommendations for a transitional homeownership model in northern non-market communities. The recommendations are meant to be actioned at various scales: at the scale of the individual household, the scale of the housing provider, and the scale of the whole community. The idea is that if you look at housing as part of a whole system, then there are certain moves that might make sense here—in a non-market context especially—that wouldn’t make sense elsewhere. So for example, we’re in a situation where a house doesn’t appreciate in value. It’s not a financial asset, it’s actually a financial liability, and it’s something that costs a lot to maintain over the years. Giving someone a house in a non-market community is actually giving them a burden, but some residents would be quite willing to take this on, just to have an option of getting out of public housing. It just takes a shift in mindset to start considering solutions for that kind of context. One particularly interesting feature of non-market communities is that they’re still functioning with a mixed economy: partially a subsistence-based or traditional economy, and partially a cash economy. I think that’s actually a strength that hasn’t been tapped into by territorial and federal policies. In the far North, in-kind and traditional economies are still very much a way of life. People subsidize their groceries with “country food,” which means food that was harvested from the land. And instead of paying for fuel tank refills in cash, many households in non-market communities are burning wood as their primary heat source. In communities south of the treeline, like Fort Good Hope, that wood is also harvested from the land. Despite there being no exchange of cash involved, these are critical economic activities—and they are also part of a sustainable, resilient economy grounded in local resources and traditional skills. This concept of the mixed economy could be tapped into as part of a housing model, by bringing back the idea of a ‘sweat equity’ contribution instead of a down payment—just like in the HAP. Contributing time and labour is still an economic exchange, but it bypasses the ‘cash’ part—the part that’s still hard to come by in a non-market community. Labour doesn’t have to be manual labour, either. There are all kinds of work that need to take place in a community: maybe taking training courses and working on projects at the Construction Centre, maybe helping out at the Band Office, or providing childcare services for other working parents—and so on. So it could be more inclusive than a model that focuses on manual labour. Another thing to highlight is a rent-to-own trial period. Not every client will be equipped to take on the burdens of homeownership. So you can give people a trial period. If it doesn’t work out and they can’t pay for operations and maintenance, they could continue renting without losing their home. Then it’s worth touching on some basic design principles for the homeownership units. In the North, the solutions that work are often the simplest—not the most technologically innovative. When you’re in a remote location, specialized replacement parts and specialized labour are both difficult to come by. And new technologies aren’t always designed for extreme climates—especially as we trend towards the digital. So rather than installing technologically complex, high-efficiency systems, it actually makes more sense to build something that people are comfortable with, familiar with, and willing to maintain. In a southern context, people suggest solutions like solar panels to manage energy loads. But in the North, the best thing you can do for energy is put a woodstove in the house. That’s something we’ve heard loud and clear in many communities. Even if people can’t afford to fill their fuel tank, they’re still able to keep chopping wood—or their neighbour is, or their brother, or their kid, and so on. It’s just a different way of looking at things and a way of bringing things back down to earth, back within reach of community members.  Regulatory barriers to housing access: Revisiting the National Building Code On that note, there’s one more project I’ll touch on briefly. TAG is working on a research study, funded by Housing, Infrastructure and Communities Canada, which looks at regulatory barriers to housing access in the North. The National Building Code (NBC) has evolved largely to serve the southern market context, where constraints and resources are both very different than they are up here. Technical solutions in the NBC are based on assumptions that, in some cases, simply don’t apply in northern communities. Here’s a very simple example: minimum distance to a fire hydrant. Most of our communities don’t have fire hydrants at all. We don’t have municipal services. The closest hydrant might be thousands of kilometres away. So what do we do instead? We just have different constraints to consider. That’s just one example but there are many more. We are looking closely at the NBC, and we are also working with a couple of different communities in different situations. The idea is to identify where there are conflicts between what’s regulated and what’s actually feasible, viable, and practical when it comes to on-the-ground realities. Then we’ll look at some alternative solutions for housing. The idea is to meet the intent of the NBC, but arrive at some technical solutions that are more practical to build, easier to maintain, and more appropriate for northern communities.  All of the projects I’ve just described are fairly recent, and very much still ongoing. We’ll see how it all plays out. I’m sure we’re going to run into a lot of new barriers and learn a lot more on the way, but it’s an incremental trial-and-error process. Even with the Construction Centre, we’re saying that this is a demonstration project, but how—or if—it rolls out in other communities would be totally community-dependent, and it could look very, very different from place to place.  In doing any research on Northern housing, one of the consistent findings is that there is no one-size-fits-all solution. Northern communities are not all the same. There are all kinds of different governance structures, different climates, ground conditions, transportation routes, different population sizes, different people, different cultures. Communities are Dene, Métis, Inuvialuit, as well as non-Indigenous, all with different ways of being. One-size-fits-all solutions don’t work—they never have. And the housing crisis is complex, and it’s difficult to unravel. So we’re trying to move forward with a few different approaches, maybe in a few different places, and we’re hoping that some communities, some organizations, or even some individual people, will see some positive impacts.  As appeared in the June 2025 issue of Canadian Architect magazine  The post Insites: Addressing the Northern housing crisis appeared first on Canadian Architect.

Geralt, the hero of The Witcher series of games, nearly had a considerably different face. He actually did, briefly, but the game's community disliked it so much CD Projekt Red panicked and changed it back. The problem? Anatomical correctness. The community didn't think Geralt was alien-looking or ugly enough. The year was 2010 and CD Projekt Red was ready to debut its brand new Witcher game, The Witcher 2: Assassins of Kings, to the world. A couple of leaked videos preceded the formal announcement but when a clutch of screenshots was eventually released, it debuted a different looking Geralt to the one people were used to from The Witcher 1. Whereas Geralt had previously had the proportions of a triangle, roughly, which angled to a point on his nose and didn't seem to involve a chin of any kind, he now had much easier-on-the-eye proportions and looked like an actual person. He was even, dare I say it, handsome. It simply wouldn't do. Some of this was to be expected. The transition from Witcher 1 to Witcher 2 included a transition for the game's engine, moving from BioWare's Aurora engine, which once powered Neverwinter Nights, to CD Projekt Red's internally made engine Redengine. A facial design that worked well in one engine wouldn't necessarily work in both. Geralt fights a baddie in The Witcher 1. | Image credit: CD Projekt Red "The problem was that The Witcher 1 was heavily stylised," CD Projekt Red art director Pawel Mielniczuk explained to me. "From an art point of view, it was a much simpler visual fidelity than was in The Witcher 2 and Witcher 3. It was based on this Aurora engine from Neverwinter Nights - low poly, you know - so the character looks great there but the face of Geralt in The Witcher 1 wasn't very anatomically correct. It was making a good impression. "When we got to The Witcher 2, we had a better engine - larger budgets for polygons, more artists to sculpt nice faces, and we actually got better at making characters, already being a studio that released one game. And Geralt's [existing] face just did not match the style of the rest of the characters," he said. "It was not realistic human proportions." The solution was clear: redesign Geralt's face. "Let's make Geralt from scratch - nobody will notice that," Mielniczuk said, and laughed at the memory. "So we made it at the very beginning of The Witcher 2 production and we released it with this first bunch of screenshots to see what the response was, and the response was horrible! Our community just smashed us on the forums - there were almost riots there." Geralt's redesigned face, unveiled in the debut screenshots released for The Witcher 2. | Image credit: CD Projekt Red Sadly I can't find those riots on those company forums now; 15 years of chatter has buried it. But Mielniczuk told me the comments there were to the effect of: "True Geralt: he's supposed to be ugly and inhuman!" CD Projekt Red backtracked as a result of the backlash, and it would take a further two years of tinkering, and testing and re-evaluating, to get Geralt's look right for the game. "And was a hybrid of The Witcher 1 Geralt and a real human," Mielniczuk said. By the time The Witcher 3 development came around, in around 2011-2012, the opportunity once again presented itself to tinker with Geralt's face, but this time the studio resisted. "With The Witcher 3, we actually used exactly the same model from Witcher 2, added more polygons, updated textures, but we did not touch it," Mielniczuk said. Geralt as pictured at the beginning of The Witcher 2. | Image credit: Eurogamer / CD Projekt Red That's not to say Mielniczuk didn't want to alter Geralt's face for the third game. He was the lead character artist on The Witcher 3. He hand-sculpted both Ciri and Yennefer's face, and he could see glaring issues with Geralt's. "If you look at the profile of Geralt: he has this incredible profile but the tip of his nose is a completely straight line from his forehead, kind of Greek proportions, and it was not fitting his face, so we wanted to fix that. But we did not," he said. "We made a decision, 'Okay, that's Geralt, he's recognisable, people are loving our character. We pass. We cannot make this mistake once again.'" Which brings us around to The Witcher 4, which is now in full production and we know will include Geralt to some degree. The new game will also move the series to a new engine, Unreal Engine 5, so once again there's an opportunity for a Geralt-face redesign. Will CD Projekt Red take it? Even the box art changed quite considerably over the course of the game's development. | Image credit: CD Projekt Red "It's such a grounded character right now I would really not dare to touch it," Mielniczuk said. "And in general, it's a very successful character because his face is recognisable, probably also because of these features of inhuman proportions in the upper part of the body. So no, I wouldn't update anything, just textures, normal maps, adding more details on the face, make it realistic through the surfaces, but not through the anatomy and proportions." But there is one thing that might tempt Mielniczuk to update Geralt's face, or rather one person, and that's Henry Cavill, the former star of The Witcher Netflix TV show. Mielniczuk is a big fan of his. "Henry was just perfect," he said. Then he added, laughing: "If I would do something to the face, I would be easily convinced to scan Henry and put him in The Witcher 4!" I spoke to Pawel Mielniczuk as part of a series of interviews looking back on The Witcher 3, a decade on, through the eyes of the people who made it. You can find that full piece on Eurogamer now.

If you're seeking the absolute best of the best in PC gaming performance, look no further. As part of its Memorial Day Sale, Dell has dropped the price of its flagship Alienware Area-51 prebuilt gaming PC, equipped with the Nvidia GeForce RTX 5090 graphics card, for the lowest price I've seen. This particular model normally retails for $5,499.99, but a new $600 instant discount drops it to $4,899.99 with free shipping. The RTX 5090 is undisputedly the most powerful graphics card on the market and is pretty much impossible to find for under $3,000 by itself.Memorial Day Deal: Alienware Area-51 RTX 5090 Gaming PCNew ReleaseAlienware Area-51 Intel Core Ultra 9 285K RTX 5090 Gaming PC (32GB/2TB)This Alienware Area-51 gaming PC configuration drops to $4,899.99 after a $600 off instant discount. Specs include an Intel Core Ultra 9 285K processor, 32GB of DDR5-6400MHz RAM, and 2TB SSD storage. The Core Ultra 9 285K is Intel's latest flagship CPU and offers stellar workstation and gaming performance. It's not quite the performance uplift we wanted from the i9-14900K, but it's still the best all-around CPU that Intel has on offer. The processor is cooled by a massive 360mm all-in-one liquid cooler, and the system is powered by a 1,500W Platinum power supply.New for 2025: The Alienware Area-51 ChassisDell unveiled the new Alienware Area-51 gaming PC at CES 2025. The chassis looks similar to the 2024 R16 system with aesthetic and cooling redesigns and updated components. The I/O panel is positioned at the top of the case instead of the front, and the tempered glass window now spans the entire side panel instead of just a smaller cutout. As a result, the side panel vents are gone, and instead air intakes are located at the bottom as well as the front of the case. Alienware is now pushing a positive airflow design (more intake than exhaust airflow), which means a less dusty interior. The internal components have been refreshed with a new motherboard, faster RAM, and more powerful power supply to accommodate the new generation of CPUs and GPUs.The RTX 5090 Is the Most Powerful Graphics Card EverThe Nvidia GeForce RTX 5090 has emerged as the most powerful consumer GPU on the market. Although Nvidia has prioritized software updates, AI features, and DLSS 4 technology to improve gameplay performance, the 5090 still boasts an impressive 25%-30% uplift over the RTX 4090 in terms of pure hardware-based raster performance. The 5090 also has more (32GB vs. 24GB) and faster (GDDR7 vs. GDDR6) VRAM compared to the 4090. This GPU is extremely difficult to find at retail price and is currently selling for $3,500-$4,000 on eBay.Nvidia GeForce RTX 5090 FE Review by Jackie Thomas"The Nvidia GeForce RTX 5090 has officially taken the performance crown from the RTX 4090, but with less force than previous generations. When it comes to traditional non-AI gaming performance, the RTX 5090 provides one of the smallest generational uplifts in recent memory. However, in games that support it, DLSS 4 really does deliver huge performance gains – you just have to make your peace with the fact that 75% of the frames are generated with AI."More Alienware Prebuilt Gaming PC DealsAlienware Aurora R16 Intel Core Ultra 7 265F RTX 5080 Gaming PC (16GB/1TB)$2,349.99 at AlienwareAlienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (32GB/2TB)New ReleaseAlienware Area-51 Intel Core Ultra 9 285K RTX 5090 Gaming PC (32GB/2TB)Alienware Aurora R16 Intel Core Ultra 7 265F RTX 5070 Gaming PC$1,849.99 at AlienwareAlienware Aurora R16 Intel Core Ultra 9 285KF RTX 5070 Gaming PC (32GB/2TB)New for 2025Alienware Area-51 Intel Core Ultra 7 265 RTX 5080 Gaming PC (32GB/1TB)Alienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (64GB/2TB)Alienware Aurora R16 Intel Core Ultra 9 285K RTX 5080 Gaming PC (64GB/4TB)Why Should You Trust IGN's Deals Team?IGN's deals team has a combined 30+ years of experience finding the best discounts in gaming, tech, and just about every other category. We don't try to trick our readers into buying things they don't need at prices that aren't worth buying something at. Our ultimate goal is to surface the best possible deals from brands we trust and our editorial team has personal experience with. You can check out our deals standards here for more information on our process, or keep up with the latest deals we find on IGN's Deals account on Twitter.Eric Song is the IGN commerce manager in charge of finding the best gaming and tech deals every day. When Eric isn't hunting for deals for other people at work, he's hunting for deals for himself during his free time.

Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Earth and space mingle in stunning ways for the 2025 Milky Way Photographer of the Year contest. From the “geological masterpiece” of Coyote Buttes, Utah to the sandstone terrain of desolate Ennedi, Chad to a lava-spewing volcano in Guatemala, this year’s entries dazzle from all corners of the globe. We even get a view of the Milky Way from off-planet with a photograph from NASA astronaut Don Pettit taken aboard the International Space Station. “The Wave”Coyote Buttes, UT, USAOne of my greatest passions is visiting stunning natural wonders and paying my personal tribute to them through night photography. This image was taken at Coyote Buttes, a geological masterpiece located in Arizona, where special access permits are required to protect it for future generations.Despite the intense cold during those days, it was incredibly exciting to visit the great sandstone wave for the first time and enjoy its spectacular shapes and colors.To capture this 360° panorama, I planned for the Milky Way and focused on creating a balanced photographic composition. It’s hard to put into words the beauty of this place, but I hope my photograph manages to convey it.Credit: Luis Cajete / 2025 Milky Way Photographer of the Year Daniel Zafra Portill The Milky Way contains an estimated 200-400 billion stars, but we can only see a fraction of the celestial bodies with our naked eyes. Photography opens up the skies to the staggering light show floating around us. (Click to enlarge images.) “Echiwile Arch” Ennedi, ChadWhen one first Googles information about visiting Chad, the results aren’t very encouraging from a safety perspective. Nevertheless, the intrepid astrophotographer in me decided to take the chance and visit this landlocked country, specifically the Ennedi Massif in the north.Sparsely populated and completely devoid of light pollution, the three-day drive from the capital, N’Djamena, was well worth the troubles and risks involved. The region is filled with numerous rock formations, shapes, and arches, offering an abundance of options for foreground elements to frame the dramatic night skies. Seen here is a small arch in the shape of a hoof in the Ennedi region.Credit: Vikas Chander / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Fortress of Light”Jujuy, ArgentinaSince I started shooting the night sky, I’ve always sought out landscapes that feel like they belong to another planet — remote, untouched, and far from light pollution. That’s exactly what I found in “The Cathedral,” a surreal rock formation in Jujuy, Argentina.Photographing at over 4,000 meters (13,000 feet) presented its challenges, but when I arrived and saw the rock formations, I was completely blown away. The landscape felt like something from a fantasy world, and the towering cliffs instantly reminded me of a giant stone fortress sculpted by nature.As twilight gave way to full darkness, the core of the Milky Way appeared high overhead, shining with incredible clarity. I patiently waited as the galactic center slowly descended toward the horizon, perfectly aligning above the cliffs.While capturing the panorama, the camera picked up bands of orange and green airglow, adding a unique glow to the horizon.This image captures everything I love about photographing the Milky Way — the silence of remote places, the peace of standing under a pristine sky, and the deep connection I feel to the moment, fully present and grateful to witness it.Credit: Mauricio Salazar / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “The Night Guardians” Easter Island, ChileEaster Island had been on my bucket list for a long time, and it once seemed almost impossible to reach. On our first night there, the weather forecast looked promising, so we decided to go ahead with the tour our group had booked 4–5 months earlier. However, Rapa Nui sits in the middle of the Pacific Ocean, where the weather is notoriously unpredictable. When we woke up at 3 a.m. in our hotel, the sky was completely covered in clouds. Still, we decided to take the risk, knowing the forecast for the next few nights was even worse.An hour later, we were frantically photographing the statues at Rano Raraku—the quarry where nearly all of the island’s 900 statues were carved—when the sky suddenly began to clear. By 5 a.m., it was completely clear, and we had less than two hours to capture all the shots we wanted. We felt incredibly lucky to be in the right place at the right time.Credit: Rositsa Dimitrova / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Blossom”Hehuan Mountain Dark Sky Park, TaiwanAfter three years of waiting, the Yushan alpine rhododendrons are finally in bloom once again on Taiwan’s 3,000-meter-high Hehuan Mountain. On this special night, distant clouds helped block city light pollution, revealing an exceptionally clear view of the Milky Way. A solar flare from active region AR3664 reached Earth that evening, intensifying the airglow and adding an otherworldly touch to the sky.Together, these rare natural events created a breathtaking scene—vivid blooms glowing softly beneath a star-filled sky.Credit: Ethan Su / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Spines and Starlight”Kanaan, NamibiaOn our second Namibia Photography Tour, we began our journey once again at one of our favorite spots in Kanaan. Last year was an incredible experience, but this time, we decided to explore more of this vast land.During a scouting trip, I stumbled upon the perfect composition—two quiver trees standing tall with a large cactus in the foreground, all beautifully aligned with the Milky Way. I had always wanted to capture the Milky Way alongside a big cactus, so in that moment, it felt like a special gift.Getting everything in focus was a bit challenging, as I had to get extremely close to the cactus without getting poked. To achieve perfect sharpness, I used focus stacking. Additionally, I shot with an astro-modified camera and a GNB Nebula filter to enhance the details of the night sky.Credit: Burak Esenbey / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Galaxy of the Stone Array” Moeraki Boulders, New ZealandThe Milky Way hangs over the sea. The night sky of the Southern Hemisphere condenses the poetry of Li Bai, a poet from China’s Tang Dynasty, into eternity. On a clear night, the Milky Way pours down over the sea like a waterfall from the sky, intertwining with the atmospheric glow on the water’s surface.Credit: Alvin Wu / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “One in a Billion ”ISS (International Space Station)I float in the Cupola, looking out the seven windows composing this faceted transparent jewel. While my mind is submerged in contemplation, my eyes gorge on the dim reflections from a nighttime Earth. There are over eight billion people that call this planet home. There are seven of us that can say the same for Space Station. What a privilege it is to be here. I used an orbital star tracker to take out the star streak motion from orbit.Credit: Don Pettit / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Winter Fairy Tale”Dobratsch Nature Park, AustriaUndoubtedly my wildest location this winter: Austria’s Dobratsch mountain! If I had to describe it in two words, it would be a “Winter Fairytale”!Despite a 5 a.m. work shift, I drove to Austria by 1 p.m., worried about my fitness and lack of sleep. After a 2-hour hike through the snow with a 22kg backpack and sled, the stunning views kept me energized.Arriving at the cabin (where I had planned my winter panorama two years ago), I was greeted by untouched snow, completely free of footprints. I spent the evening exploring compositions, and this is my favorite: a panorama of the winter Milky Way with reddish nebulae, stretching above Dobratsch Mountain.I captured the Zodiacal light and even the Gegenschein glow! The sky was magnificent, with Jupiter and Mars shining brightly. In the foreground is the cabin, where I spent 3 freezing hours (-12°C), waiting for the perfect shot of the Milky Way’s core. It turned out exactly as I envisioned—a true winter fairytale.Credit: Uroš Fink / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Valle de los Cactus” San Pedro de Atacama, ChileA panoramic shot of the Milky Way in a remote area of the Atacama Cactus Valley, known for its large concentration of cactus plants. I love this place with its countless possibilities. The panorama was taken just as the galactic center began to rise, with the spectacular Gum Nebula visible on the right.It was an especially bright night with a breathtaking sky. The valley isn’t easy to navigate, but it’s always worth trying to find new compositions in such stunning locations beneath the night sky.Credit: Pablo Ruiz / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Cosmic Fire”Volcán Acatenango, GuatemalaOn the early morning of June 2, 2024, I summited Acatenango Volcano for the first time, hoping to witness the fiery beauty of the neighboring Volcan de Fuego against the Milky Way’s backdrop. That night, the volcano was incredibly active—each thunderous explosion reverberated in my chest, while glowing lava illuminated the dark slopes. Above, the Milky Way stretched diagonally across the sky, a mesmerizing band of stars contrasting with the chaos below. As the volcano erupted, the ash plume rose vertically, forming an acute angle of about 45 degrees with the galaxy’s diagonal path, creating a stunning visual contrast between Earth’s fury and the cosmos’ serenity.Capturing this required a fast, wide-angle lens (f/2.8), an ISO of 3200, and a 10-second exposure to balance the volcanic glow with the starlight. The challenge was timing the shot during a new moon and aligning the right moment for the Milky Way to cross the frame next to the volcano. I used Lightroom as the editor. This image is special for its storytelling—the raw power of Volcan de Fuego meeting the tranquil expanse of the galaxy.Credit: Sergio Montúfar / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Lake RT5” Zanskar, HimalayasLake RT5 is a pristine alpine lake nestled at 5,700 meters above sea level. My passion has always been to capture the unseen Himalayas in their rawest form. This journey led us through rugged mountains and glaciers, where we discovered several unknown alpine lakes and named them along the way.We endured multiple nights in extremely cold, unpredictable conditions. Due to the ever-changing weather and limited time, I used a blue hour blend to achieve a cleaner foreground. Since my campsite was right beside the lake, I was able to capture the tracked sky shot from the exact same position later that night.I was in awe of the incredible airglow illuminating the Himalayan skies. The raw image had even more intense colors, but I toned them down to stay true to reality. This was undoubtedly one of the most unforgettable nights I’ve ever spent in the heart of the Himalayas.Credit: Tanay Das / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “A Stellar View From The Cave” Saint Raphael, FranceFramed by the rugged mouth of a coastal cave, this image captures the heart of the Milky Way rising over the Mediterranean Sea. Taken during the peak of the Galactic Core season last May, it blends the natural beauty of the foreground with the awe-inspiring vastness of the cosmos. A winding road, illuminated by passing cars, creates a dynamic trail of light that guides the eye toward the stars above.This photo is a reminder that magic often hides in the most unexpected places. All it takes is a little patience, planning, and passion.Credit: Anthony Lopez / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Boot Arch Perseids” Alabama Hills, CA, USAThe Perseid Meteor Shower occurs every August, raining down hundreds of meteors over a few nights. In 2024, I had planned to photograph it from the Canadian Rockies, but wildfires forced me to change my plans at the last minute. After checking wildfire maps, I found a safe haven in the Eastern Sierra Nevada.After three full nights of capturing meteors, I created this image. Sitting on the rock is my friend Arne, who often joins me on these adventures, gazing up at the magnificent core of our galaxy. Each meteor is painstakingly aligned to its true location in the night sky. The final depiction shows all the meteors I captured, combined into one frame—as if the Earth hadn’t been rotating and all the meteors had fallen at once.Credit: Mike Abramyan / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Starlit Ocean: A Comet, the setting Venus, the Milky Way, and McWay Falls” – California, USACapturing this image was a race against time, light, and distance. With Comet Tsuchinshan–ATLAS (C/2023 A3) making its approach, I knew I had a rare opportunity to see it with the naked eye before it faded into the cosmos. I embarked on a five-hour round trip to McWay Falls in Big Sur, one of the few Bortle 2 locations accessible along California’s coast. My window was narrow—just six precious minutes of true darkness before the Moon rose and washed out the night sky. But those six minutes were unforgettable.In that brief span, the Milky Way arched high above the Pacific, Venus shimmered as it set over the ocean, and the comet streaked quietly across the sky—a celestial visitor gracing this iconic coastal cove. The soft cascade of McWay Falls and the stillness of the starlit ocean created a surreal harmony between Earth and sky. It was one of the most vivid and humbling naked-eye comet sightings I’ve ever experienced—an alignment of cosmic elements that felt both fleeting and eternal.Credit: Xingyang Cai / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Diamond Beach Emerald Sky”Great Ocean Road, AustraliaWith a clear night forecast and the Milky Way core returning for 2025, I set out to explore the Great Ocean Road. After a few setbacks—such as a failed composition and getting the car stuck on a sandy track—I almost gave up. However, I pushed on and found a great spot above the beach to capture the scene.The night was full of color, with Comet C/2024 G3 Atlas and a pink aurora in the early hours, followed by the Milky Way rising amid intense green airglow near dawn. Despite the challenges, the reward of this stunning image and the memory of the view made it all worthwhile.Credit: Brent Martin / 2025 Milky Way Photographer of the Year Daniel Zafra Portill